Certain films are like time capsules, or so they seem to us in hindsight. Libido (1973) being a case in point. As a four-part film with episodic variations on a theme, it has its antecedents in European por...
This 1975 adaptation of Nathaniel West’s celebrated novel has in course of time fallen into a state of anonymity. This article reassesses its languishing reputation and finds much of merit in the film’s thematic and visual treatment of the novel.
Turkish films continue to garner international festival awards and critical acclaim. Simpson’s article provides a comprehensive overview of the current state of the industry and the myriad factors that have aided its resurgence.
Like many of his collaborators, filmmaker Jackie Raynal was present at the Cinémathèque Française’s memorial homage to Rohmer earlier this year. Sparked by the occasion, she looks back at her time with Rohmer in this heartfelt reminiscence.
A landmark interview originally published in Cahiers du cinéma in 1970. The journal was in the midst of its Marxist/Leninist era, while Rohmer's Bazinian idealism was vindicated by the success of My Night at Maud’s. A fascinating joust between two entirely opposed views of the cinema
Rohmer was himself a private and reserved individual who, more often that not, shunned the spotlight. Bruce Perkins examines three documentaries on the filmmaker, and concludes that together they offer as vivid and multi-dimensional a portrait of Rohmer as we can wish for.
In both content and form, a strong pedagogical endeavour has informed the work of Rohmer throughout his career. Darragh O’Donoghue discusses this inclination, focusing on some of the earlier shorts and made-for-television documentaries.
The topographical tracings of Rohmer’s feature debut reveal a dual motif: the cartographic and the photographic. Roland-François Lack’s insightful essay meticulously traces the unfolding of this dual motif.
Love, morality, fidelity and chance crystallised around Pascal’s ‘wager’. Taken by many to be the key film of the ‘Six Moral Tales’ series, the fascination of this film has not receded with time. Constantine Santas unravels the film’s thematics.
“In painting, I know of no one who went further than Nicolas de Staël.” – Jean-Luc Godard. An insightful discussion of the profound affinities between the great painter and the equally great filmmaker who held his work in such high esteem.
Comprehensive account of the production of this seminal 1973 portmanteau film containing contributions from directors Fred Schepisi, Tim Burstall, John B. Murray, David Baker, and writers Thomas Keneally and David Williamson, among others.